from Christine Mehring, Television Art's Abstract Starts: Europe circa 1944-1969, October (125), Summer 2, 2008

모든 과거의 커뮤니케이션 테크놀로지와는 다르게, 라디오와 텔레비전은 우선적으로, 우선적으로 컨텐츠를 정의하지 않거나 거의 하지 않은 채로, 추상적 프로세스로서 전송하고 수용하기 위해 고안된 시스템이다. 컨텐츠에 관한 질문이 부상했을 때, 그것은 해소됐다, 대체로, 의존적으로parasitically. . . . 그것은 수요에 우선하는 방송 시설의 보급인 것만이 아니었다. 그 커뮤니케이션의 수단은 컨텐츠에 우선했던 것이었다. - 레이먼드 윌리엄스, 텔레비전 (p. 29)

It was made by artists who primarily worked nonfiguratively in other media and who used the new medium to produce abstract images of a self-reflexive nature. Modernist artists and critics routinely posited abstraction as the culmination of a process of reduction of long-established media like painting and sculpture to their essence. By contrast, the pioneering television artists turned to already-established abstraction in a foundational gesture of isolating the medium's essence to open up yet unknown possibilities. The implications of this are twofold. For one, the essential qualities they turned up paradoxically mapped onto preexisting concerns that had emerged from their work in more traditional media. (p. 30)